So much to like in this beautifully crafted film directed by Greta Gerwig.

Margot Robbie delivers an excellent performance as Stereotypical Barbie, the lead doll of Barbieland. In this matriarchal society, females hold important job positions such as doctors, lawyers, politicians, and Supreme Court Justices. The Kens have no discernable purpose beyond engaging in recreational activities and competing for the attention of the Barbies.

Sporting cartoonishly blond hair, Ryan Gosling embraces the role of Beach Ken as he trails behind Stereotypical Barbie, hoping to win her love and approval. In one of my favorite scenes, he sings “I’m Just Ken” while wearing a headband, fingerless gloves, and a full-length fur coat. He tosses off lines like “Am I destined to live a life of blond fragility?” and “What will it take for her to see the man behind the tan?”

One morning, Stereotypical Barbie experiences an existential crisis when alarming symptoms (bad breath, flat feet, cellulite) appear. Concerned, she consults with Weird Barbie (Kate McKinnon), a wise but disfigured outcast, who assesses the damage and concludes that Stereotypical Barbie’s human child must be displaying painful emotions. Weird Barbie’s advice: travel to the real world and find the depressed child playing with her.

What follows is a kaleidoscope of saturated colors and images as Stereotypical Barbie and Beach Ken travel in a convertible, rowboat, and eventually on rollerblades until they land in the real world of Venice Beach. A series of comical misadventures bring unwanted attention from passersby, law enforcement officers, and Mattel male executives.

Barbie and Ken quickly discover that the real world differs greatly from Barbieland. While Barbie feels uncomfortable and threatened, Ken feels respected and accepted.

At the film’s center is a story about Barbie’s human child Sasha (Ariana Greenblatt), and her mother, Gloria (America Ferrera). In a strange twist, Gloria has been playing with Barbie. Dissatisfied with her career at Mattel and feeling unloved by her daughter, Gloria has been going through her own existential crisis.

Back in Barbieland, a matriarchy/patriarchy battle ensues. Gloria delivers an impromptu speech that inspires the Barbies to reclaim their power and make much-needed changes in Barbieland.

Rhea Perlman appears in two brief cameos as the spirit of Mattel co-founder Ruth Handler. She encourages Stereotypical Barbie to be brave and face reality. My favorite line from Ruth: “We mothers stand still so our daughters can look back to see how far they have come.”

Highly recommended!

This thrilling and highly anticipated biopic, written and directed by Christopher Nolan, delves into the creation of the atomic bomb. From start to finish, the film moves at a breakneck pace with time jumps, seamless weaving between color and black-and-white scenes, stark close-ups, and ear-splitting special effects.

Riveted, I couldn’t take my eyes off the screen throughout the entire three hours. There was too much at stake for the world and J. Robert Oppenheimer, expertly played by Cillian Murphy. The actor inhabited the character, giving us an intimate view into the brilliance and complexities of the charismatic, eccentric scientist. I was fascinated by the close-ups of those “ocean” eyes that revealed turbulent thoughts and emotions. While Nolan downplayed Oppenheimer’s reputation as a womanizer, there is evidence of a messy personal life, often at odds with his intense ambition.

I could feel my heart pounding during the crescendo of special effects leading up to the Trinity Test in Los Alamos. And confused by the thunderous sound that followed. The sounds of hands clapping and feet stomping to acknowledge Oppenheimer’s leadership resembled bombs detonating.

The film also includes Oppenheimer’s ties to the Communist Party, Hoover’s FBI investigation, and a closed-door hearing during the post-war years. Determined to blacklist Oppenheimer, Lewis Strauss (Robert Downey Junior) set in motion a series of events that culminated in a mock trial. Downey dug deep to transform himself into the film’s villain, a wealthy businessman and chairman of the U.S. Atomic Energy Commission. Downey is almost unrecognizable as he delivers an Oscar-worthy performance.

I was also impressed by Matt Damon’s portrayal of General Leslie Groves. The scenes with Oppenheimer and Groves include humorous quips.

The massive ensemble cast includes Emily Blunt, Florence Pugh, Jack Quaid, Josh Harnett, Rami Malek, Alden Ehrenreich, Matthew Modine, Jason Clarke, and Josh Peck. So much brilliance, but sometimes difficult to keep track of all the roles.

Thought-provoking. Unsettling. Disturbing. The film evoked many feelings, some not so comfortable, but I have no regrets. It is definitely worth seeing.

All the elements are there—glamour, greed, sex, betrayal, murder—in this sensational saga of a lethal family feud that spanned three decades. Add in a cast of A-list actors and actresses, who deliver over-the-top performances as the schemers and dreamers of the Gucci clan.

Lady Gaga plays Patrizia Reggiani, a vintage gold digger who brazenly pursues shy, gawky Maurizio Gucci (Adam Driver). Despite the warnings of his father (Jeremy Irons), Maurizio stands by Patrizia and marries her, willingly giving up his share of the family fortune.

Determined to play the long game, Patrizia settles for a temporary modest life in Italy. All that changes when Uncle Aldo (Al Pacino) visits and gifts the young couple with a pair of Concorde tickets to New York.

Maurizio reluctantly agrees to resettle in New York and join the family business. Ecstatic, Patrizia helps herself to all the perks: free shopping sprees at the Gucci boutique in Manhattan, a company apartment, and an expanded social circle. With the help of a television psychic (Salma Hayek), Patrizia schemes to cut Aldo and his son Paolo (Jared Leto) out of the picture.

But kind, shy Maurizio is slowly waking up to the ways of power. He begins to resent what Patrizia is doing to his family and is no longer willing to participate in her schemes. Adam Driver expertly demonstrates these shifts of character, allowing us to see the emergence of a new ruthlessness in Maurizio.

The implosion of their marriage, financial losses, and an execution-style murder follow.

For the most part, I enjoyed the film but struggled with the accents. Several accents sound Eastern European or Russian to me (I’m of Italian heritage). I believe the fake accents were unnecessary and succeeded only in jolting me out of the storyline.

The movie plays like a real-life Dynasty/Dallas/Falconcrest (popular soap operas from the 1980s). Other descriptors include “icepick docudrama,” “showcase of excess,” and “fashionista Godfather Lite.”

My advice: Prepare yourself for over 2.5 hours of melodrama set across the spectacular backdrops of St. Moritz, Lake Como, Milan, and New York City.

Will Smith delivers a stellar performance as Richard Williams, the larger-than-life father who created tennis superstars—Venus (Saniyya Sidney) and Serena (Demi Singleton).

Despite the lack of physical resemblance, Smith captures the essence and dogged determination of the manic “interview-hogging dad” who drafted a plan for his daughters before they were even born. Unwilling to consider any deviations to that plan, he works tirelessly to train and promote the girls. Brochures and videotapes in hand, he approaches professional coaches who gently (and not so gently) turn him down.

Afternoons and evenings, he trains the girls on a rundown court in all kinds of weather. He endures regular beatings from gang members who consider the court their turf.

Richard’s persistence finally pays off when coach Paul Cohen (Tony Goldwyn) reluctantly agrees to watch the girls practice. Impressed, Cohen selects Venus to receive free coaching. Venus quickly finds success in Juniors’ tournaments while Serena continues to practice with her mother.

Richard has long been known as the man behind the tennis magic. Still, Oracene Price (brilliantly played by Aunjanue Ellis) knows when to set aside the role of supportive spouse and intervene on her daughters’ behalf. Her fiery temper emerges at pivotal points in the storyline.

Actresses Sidney and Singleton learned to play tennis at a level convincing enough to be believable. They also exhibit the childlike excitement and confidence of the real-life Williams sisters.

Part biopic, part sports movie King Richard was named one of the best films of 2021 by the American Film Institute. In last Sunday’s Golden Globes, Will Smith received the Best Actor award (Drama). The film received three other nominations: Best Supporting Actress (Drama), Best Motion Picture (Drama), and Best Original Song.

A strong contender in this year’s award season, King Richard is a must-see film.

Kristen Stewart delivers an Oscar-worthy performance as Diana, Princess of Wales, in a film that has been described as “a reimagining of a Royal Family Christmas at Sandringham, circa 1991.” (Toronto Star)

Or, more concisely, in the film’s opening caption: “A fable from a true tragedy.”

Neither description adequately prepared me for what followed.

From the start, it is clear Diana dreads this tense three-day holiday with her husband’s family. Driving by herself in an open convertible, she gets lost in the Norfolk countryside, not too far from where she grew up. At one point, she wanders into a café and asks the woman behind the counter, “Where am I?”

Once at the estate, her mood plummets even further.

Hearing the familiar words, “No one is above tradition,” from the stern-faced military officer (Timothy Spall) at the entrance sets the tone. She is expected to comply with all the rituals, including one dating back to 1847. On arrival, guests must participate in the “all in good fun” weigh-in. Upon departure, another weigh-in will hopefully confirm they have properly indulged during the holiday by gaining three pounds. An ordeal for most people and a nightmare for anyone struggling with weight issues.

While her sons, William and Harry, are happy to see her, almost everyone else belittles or ignores her. Diana’s one scene with Charles painfully demonstrates how far they have strayed since their fairy tale wedding ten years earlier. His comment, “You have to be able to make your body do the things you hate, for the good of the country,” does little to reassure Diana.

In her assigned bedroom, Diana finds a book on Anne Boleyn, another abandoned royal wife. Boleyn’s ghost (Amy Manson) shows up in several scenes, offering sympathy and warnings, at critical junctures during those seemingly endless three days.

Hints of Camilla Parker Bowles are everywhere.

Knowing that Camilla has received the same gift, Diana is sickened by the set of pearls she receives from Charles. A bizarre dinner scene involving a bowl of pea soup demonstrates the level of physical suffering Diana is enduring. While being photographed outside the church on Christmas Day, Diana catches glimpses of Camilla among the crowd.

Oscar-winning costume designer Jacqueline Durran adds bursts of much-needed color to the film’s grayish-brown backdrop. Durran includes many of Diana’s famous outfits and other looks associated with that period. My favorite, a yellow suit with a pirate hat, takes on special significance in a later scene.

The film ends on a bittersweet note, reminding me of Diana Spencer’s too-short life outside the gilded cage.

Matt Damon delivers a stellar performance as oil-rig roughneck Bill Baker in this riveting drama loosely based on the infamous Amanda Knox case. To recap, an American student abroad in Italy was convicted for the murder of her roommate.

In Stillwater, the setting is Marseille, France, and the accused is college-aged Allison (Abigail Breslin), Bill’s daughter. Allison has already served five years of her nine-year prison sentence for her roommate’s murder but now has new evidence that could lead to the reopening of the case. According to Allison’s former professor, a young Arab man (Akim) has boasted about getting away with murder.

Convinced of his daughter’s innocence, Bill takes matters into his own hands after the defense lawyer dismisses the new evidence as hearsay. An uphill battle from the start, Bill faces language barriers, cultural differences, and the intricacies of the French legal system. Often frustrated but undeterred, Bill seeks out detectives, talks to witnesses and chases down suspects, all in the hope of finding the elusive Akim (Idir Azougli).

Thankfully, he is not alone during this quest.

Local theatre actor Virginie (Camille Cottin) and her adorable nine-year-old daughter Maya (Lilou Siauvaud) provide much-needed language assistance and emotional support to the God-fearing, gun-loving American who is clearly out of his comfort zone.

As the relationship deepens between Bill and Virginie, there are hints of a happily-for-now ending. Bill secures employment as a construction worker, spends quality time with Maya, and slowly reveals his vulnerabilies. Beneath the baseball cap, plaid shirts, and bushy goatee lies a tortured soul yearning for acceptance and redemption. Had the film focused on this dynamic or ended fifty minutes earlier, it could have been labeled a mid-life romantic drama.

Director Tom McCarthy had a different ending in mind.

The third act veers into dark, unexpected terrain. A chance encounter releases past demons, enabling Bill’s self-destructive streak to rear its ugly head. Poor decision-making and reckless actions follow, endangering the lives of Virginie and Maya. A startling revelation touches Bill at his very core, forcing him to re-examine what he holds most dear.

A must-see film that will linger in consciousness!

Jessica Chastain inhabits the character of Tammy Faye Bakker, providing us with an intimate look at the extraordinary rise, fall, and redemption of the televangelist.

The first act follows Tammy’s childhood fascination with religion to her courtship with Bible College student Jim Bakker (Andrew Garfield) to their meteoric rise in the PTL (Praise the Lord) network.

Naïve and impressionable, Tammy is dazzled by Jim’s outspoken and progressive views about Christianity. During a student preacher seminar, he proclaims: “God does not want us to be poor; he will gift the faithful with eternal wealth.”

After a quick marriage, they drop out of Bible College and become roving evangelists. A twist of fate brings them into contact with the Christian Broadcasting Network in Virginia. Established televangelist Pat Robertson (Gabriel Olds) hires them to host a children’s show with bible stories and puppets.

Charismatic and entertaining, Jim and Tammy pioneer the feel-good variety shows that hypnotize (and often guilt) fans into pledging their hard-earned money. As their fame and wealth increase, the couple experiences turbulence in their relationship.

Beneath the pleasant demeanor of Jim Bakker lurks a voracious greed. He prefaces those desires with “God told me he wants…” Jim also wants to act on his passions, which include his attraction to men.

When Jim talks about his “God-connection,” Tammy retorts, “Well, He told me I have to speak up.”

Tammy undergoes a transformation from a baby-voiced puppeteer to a bored housewife to a Christian feminist who demands a seat at the table. My favorite scene…At a party, Tammy (holding her infant daughter) sits at a table populated by several Christian superstars, among them Jerry Falwell (well played by Vincent D’Onofrio). Ignoring the blatant disapproval of the older men, Tammy shares her beliefs about acceptance and homosexuality. Later in her career, she invites an AIDS patient to share his story on the air.

When Jim falls from grace in 1989, Tammy is shocked by the allegations of fraud and the subsequent conviction. A bit of a stretch to believe she was still that naïve.

While she was inherently good and had the best of intentions, Tammy Faye Bakker craved the spotlight and enjoyed all the trappings of wealth. Throughout the film, her mother (Cherry Jones) asks pointed questions that are dismissed or ignored. I believe that Tammy may have suspected fraudulent and inappropriate behavior, but she chose not to delve too deeply into those turbulent waters.

A thought-provoking film that provides new insights into a decades-old scandal.

Screenwriter Eleanor Catton has produced a streamlined version of Jane Austen’s classic novel, Emma. While significant chunks are missing, the final product is a delightful, easy-to-follow film with most of the dialogue left intact.

Anya Taylor-Joy delivers an excellent performance as Emma Woodhouse, a 21-year-old busybody who enjoys meddling in other people’s lives. After successfully arranging the marriage of her governess, Miss Taylor (Gemma Whelan), to widower Mr. Weston (Rupert Graves), Emma decides to pair her friend Harriet Smith (Mia Goth) with the local vicar (Josh O’Connor).

A series of comical (and not-so-comical) misadventures follow, and Harriet ends up with a bruised heart.

Disappointed by the turn of events, long-time friend George Knightly (Johnny Flynn) chastises Emma, commenting: “Vanity on a weak mind produces every kind of mischief.”

Undaunted, Emma turns her attention toward new arrivals Jane Fairfax (Amber Anderson) and Frank Churchill (Callum Turner). Often thoughtless, sometimes even cruel, Emma continues to poke her nose in other people’s affairs. One particular barb sets in motion Emma’s unraveling. Ashamed and embarrassed, she tries to atone for her behavior. And, in the process, she falls in love.

Bill Nighy steals every scene in which he appears as Emma’s father.

Definitely light fare and a welcome distraction during these challenging times.

Ben Affleck delivers an excellent performance as Jack Cunningham, a hard-drinking former basketball star who reluctantly accepts the position of head coach at his alma mater.

As the storyline unfolds, we learn that Jack walked away from a full sports scholarship and hasn’t picked up a basketball in almost 25 years. His life has settled into a predictable routine: days at a construction job followed by evenings at Harold’s Bar and more alcohol at home. He is so dependent that he even brings a can of beer into the shower.

As soon as Jack accepts the coaching position, he becomes involved in the lives of the players and succeeds in motivating the underdog squad of ten players. A winning streak follows with impressively choreographed basketball scenes.

Jack still drinks too much, and his short-fuse temper is easily triggered during tense moments. Despite reprimands from the team chaplain, Jack can’t control his constant use of profanities.

Viewed as a savior, Jack appears to be well on the road to redemption. Until life—in the form of resurrected past demons—rears its ugly head. What follows is backtracking, a major disappointment, and an accident.

A longtime fan of sports movies, I fully expected Jack to take the team to the final championship game. Instead, co-writer and director Gavin O’Connor chose a different trajectory for Jack Cunningham, one that is a better “fit” for the imperfect coach struggling to overcome past mistakes and insecurities.

A thought-provoking film!